Castiles,+Steel+Mill,+BS+Band+-+Studio+Sessions

include component="page" page="content_legendott" wrap="1" The information below details the songs that Springsteen recorded with his first bands - The Castiles, Steel Mill and The Bruce Springsteen Band (incorporating Dr Zoom & The Sonic Boom and The Sundance Blues Band).

The Castiles

code Bruce Springsteen (guitar, vocals, harmonica) George Theiss (guitar, vocals) Curt Fluhr (bass) Vinnie Maniello (drums) Paul Popkin (tambourine, vocals) code The Castiles recorded two songs at a studio session in Bricktown, New Jersey in May 1966. As it turned out, Springsteen would not enter another recording studio until February 1970. The following is a listing of all known Springsteen compositions written during The Castiles - Earth era (1965-1968). There are compositions from this era that are still undocumented. In order for a title to make this list it must be a completed song (i.e. words and music). Written in May 1966 and recorded at Mr Music in Bricktown, NJ. Performed in concert regularly during 1966 and early 1967. A slightly modified version of the line "//I fall down on my knees and I cry//" can be found in 1982's "Downbound Train"; "//I dropped to my knees, hung my head and cried//". Written in May 1966 and recorded at Mr. Music in Bricktown, NJ. Performed in concert regularly during 1966 and early 1967. Officially released in September 2016 on //Chapter And Verse//, the companion album to Springsteen's autobiography //Born To Run//. A soul styled number written in mid-1966 and performed frequently in concert in 1966-67, although there’s no audio in circulation. According to Tex Vinyard the song’s melody was supplied by a fan, with Bruce then adding the lyrics. Written in 1967. The only circulating audio is from a gig by The Castiles at The Left Foot in late 1967. Written in 1967. The only circulating audio is from a gig by The Castiles at The Left Foot in late 1967.

Steel Mill

code Bruce Springsteen (guitar, vocals) Danny Federici (organ, piano, backing vocals) Vini Lopez (drums) Vinnie Roslin (bass, backing vocals) code Steel Mill recorded three songs at a studio session in San Francisco in late February 1970. The only other “studio” sessions during the period were those conducted at Challenger Eastern Surfboards. Besides being a manufacturing facility (and Bruce’s home from late 1969 thru late 1970) Challenger East was also a makeshift studio environment of sufficient standard to produce reasonable quality recordings. Although it’s a sure bet that most of these songs were recorded as part of ongoing rehearsals, none of the Challenger East audio recorded during 1969 and 1970 is currently in circulation. Due to financial restrictions, the Reel-to-Reel tapes were often reused. Consequently, there is a distinct possibility that much of what was recorded at Challenger no longer survives, even in Bruce’s personal archive.

The following is a listing of all “known” Springsteen compositions written during the Child – Steel Mill era (1969 and 1970). There are compositions that are still undocumented. In order for a title to make this list, it must be a completed song (i.e. words and music). NOTE: concert recordings of nearly all these songs are in circulation (refer to Brucebase for specific details) Steel Mill -era composition, confirmed from a finished lyric sheet. No known live performance. Steel Mill -era composition, confirmed from a finished lyric sheet. No known live performance. Written in 1969 and performed in concert regularly during the second half of 1969 and up through mid-1970. Bruce’s nickname for this one was “American Song”. It is also known as “American Tune”. A couple of live performances are in circulation. Written in 1969 and performed in concert during 1969 and early 1970. Also known as “Fucked Up Amplifier Blues” Written in early 1970 and performed in concert during 1970. One of the better Springsteen compositions of the Steel Mill era. Written in early 1970, either during or immediately following Steel Mill’s trip to San Francisco. Performed in concert during the first half of 1970. Written mid-1970 and a regular concert inclusion during the Robbin Thompson era of Steel Mill (September 70 – January 71). Sometimes listed under the title “Change It (Revolution)” or "Change It". Written in late 1969 and performed in concert up through mid 1970. A couple of live performances are in circulation. Sometimes listed under the title “Come On (The World Is Crying For Freedom)”. Written in mid or late 1970. Only one live performance is known, from recently circulating audio from The Sunshine In on November 27, 1970. Also known as "Do It Now". Written in 1969 during the Child period and probably performed live in 1969. There is no audio performance in circulation. A finished lyric sheet, complete with Bruce’s chord notations, exists. An instrumental written in 1969 or 1970 of which little is known. Bruce’s handwritten title/chord progression sheet has recently surfaced. It is not known if another instrumental called “Freak I” was also composed. Written in 1969 or early 1970 and performed in concert up through mid 1970. The title is deceptive as this is not blues but, rather, a suite of mini-songs linked together to convey an entire working day in the life of the character. Bruce sometimes referred to this by the title “The Alarm Clock Song”. A couple of live performances are in circulation, with one nearly 30 minutes in duration. Written in 1970. The only known live performance is from the Marshall Parking Deck show in August 1970. Written in 1969 and performed in concert regularly during 1969, 1970 and even occasionally during the 1971 Bruce Springsteen Band era. This unabashed Allman Brothers-influenced tune was the third most requested song of the Steel Mill era, behind “Resurrection” and “Guilty”. Several live performances are in circulating. One of three songs studio recorded in San Francisco on February 22, 1970. Written in the summer of 1969 and performed in concert regularly during the second half of 1969 and throughout 1970. After Robbin Thompson joined the band the song tended to be slotted into the final stages of the show. Several live performances are in circulation. One of three songs recorded at Fillmore Recording Studios in San Francisco on February 22, 1970 and officially released in September 2016 on //Chapter And Verse//, the companion album to Springsteen's autobiography //Born To Run//. This version has been edited, reducing the length to 4:39 by cutting some of the instrumental segments short. Former Steel Mill vocalist Robbin Thompson released a cover version in 1986. Sometimes listed as “Guilty” or “Send That Boy To Jail” Written in 1969 and performed in concert often throughout 1970. A couple of live performances are circulating. No relation to Springsteen’s 1972 composition “Lady And The Doctor” Written in mid-1970 and a frequent concert inclusion during the September 70-January 71 Robbin Thompson era of Steel Mill. Several live performances are circulating. Sometimes listed under the title “I Can’t Take It No More”. Written in early 1970. One verified live performance, on April 18, 1970, although there are likely to have been others. There is no audio of the song in circulation. Written in 1969 and performed in concert regularly during the second half of 1969 and into the early months of 1970. A couple of live performances are in circulation. Written in 1968 or 1969 and performed in concert regularly throughout 1969. There is no audio performance in circulation. Apparently this is a soft ballad and may well be related to the “Jennifer” known via Laurel Canyon copyright documentation. An instrumental, written in late 1969 or early 1970 and played in concert up until mid 1970. A couple of live performances are in circulation. Allegedly a variation of this song was performed by Bruce and the E Street Band during a few shows early in the 1972-73 //Greetings// Tour, although there’s no audio or setlist verification. Written in the summer or fall of 1969 and performed in concert regularly during the second half of 1969 and into the early months of 1970. A couple of live performances are in circulation. Written in late 1970. The earliest circulating audio performance is from a January 1971 Steel Mill show at D’Scene. This is one of the few Steel Mill-era songs that Bruce continued performing during the Bruce Springsteen Band period, as renditions from that period are also circulating. Sometimes referred to by the title “Mary Lou Watson” or “Black Widow Spider”. Written in mid to late 1970 and a played often during the September 70 – January 71 Robbin Thompson era of Steel Mill. Sometimes listed under the title “Oh Mama Why”. Written in 1969 and performed in concert regularly during 1969 and 1970. This was always a heavily requested crowd favorite and was sometimes utilized in the encore slot. Bruce appears to have “retired” the song when Steel Mill disbanded in early 1971, as there are no confirmed later performances. An instrumental composed in 1969 or early 1970. A couple of performances circulate from the early and middle months of 1970. Also known by the title “On The Tips”. Neither title may be the true title. Written in 1969 and performed regularly during the Vinnie Roslyn era of Steel Mill but then only once in a while during 1970. Only one live audio performance is in circulation, from a gig in Richmond in late 69 (possibly early 1970). The alternate title spelling is “Sister Teresa”. Written in 1969 or early 1970 and performed until mid 1970. A live version recorded at the Ocean Ice Palace in June 1970 is in circulation. Written in 1969, with documented performances taking place through early 1971. There are a couple of live renditions in circulation. Written in 1969 or early 1970 and performed until mid 1970. A couple of live versions are in circulation. Written in 1969. This is about as close to mainstream country as Springsteen has ever gotten – and out of character with Bruce’s other known compositions of the era. One of three songs recorded at Fillmore Recording Studios in San Francisco on February 22, 1970-perhaps selected for that session in order to demonstrate the band’s versatility. The studio outtake is marred by a repetitious ending. Former Steel Mill vocalist Robbin Thompson has recorded and released a nice cover version. “The Train Song” should not be confused with “Train Ride”, a Robbin Thompson composition that was also performed by Steel Mill. Written in the summer or fall of 1969 and performed in concert regularly during the second half of 1969 and into the early months of 1970. A couple of early 1970 live performances are in circulation Written in mid-1970 and among Bruce’s better Steel Mill compositions, with more expansive lyrics than any other documented Springsteen composition of the period. Bruce’s complete handwritten lyric sheet has surfaced. The only circulating audio performance is from Richmond’s Marshall Parking Deck gig in Aug 1970. Sometimes listed under the title “We’ll Man The Guns”. Written in May or June 1970. Bruce’s emotionally charged response to the Kent State University shootings on May 4th. Only one known live performance - in Richmond, sometime during May-July, 1970. An audience recording exists (as well as the audio of the entire show from which it emanates) - unfortunately this audio is not currently in mainstream circulation. Written in early 1970. A couple of live performances from 1970 are circulating Written in 1969 or early 1970 and performed in concert frequently during 1970. If this is not Bruce’s finest Steel Mill-era composition, it’s certainly in the top two or three. A couple of live performances are in circulation from the middle months of 1970. Written in 1969 or early 1970. The only documented performance is from a gig in Richmond in February 1970. An audience recording exists of this show but it’s not currently in mainstream circulation.

The Bruce Springsteen Band

code DR ZOOM & THE SONIC BOOM / SUNDANCE BLUES BAND / BRUCE SPRINGSTEEN BAND CORE MUSICIANS: Bruce Springsteen (lead guitar, piano, harmonica, vocals) Steve Van Zandt (guitar, background vocals) Garry Tallent (bass) David Sancious (keyboards) Vini Lopez (drums, background vocals) code The following is a list of known Springsteen compositions written during the February 1971-February 1972 “Dr Zoom & The Sonic Boom / Sundance Blues Band / Bruce Springsteen Band” era. This is not a complete list of songs from this period because it doesn’t include several 1971 compositions that Bruce recorded in 1972 as part of his CBS / Laurel Canyon/Sioux City sessions. Known songs from those sessions can be found in the 1972 “Demo” section of “On The Tracks”.

Springsteen did not record any material in a professional recording studio during the February 1971-February 1972 period. However “studio” (rehearsal) sessions were frequently conducted at Challenger Eastern Surfboards Factory during this period. However, the primary purpose of the sessions was to prepare for live shows, not to make audio recordings. So only a fraction of this extensive body of rehearsal sessions was ever recorded - and when they were it is an unfortunate reality that the reel-to-reel tapes made at Challenger East were often erased and reused as part of the recording of live shows. Therefore it can be reasonably assumed that very little of these rehearsal sessions survive on tape. Fortunately, live concert recordings of many of the below-mentioned songs ARE in circulation (refer to Brucebase for timeline details).

Audio of only one Challenger East session is known to exist – a continuous eight-song, 83-minute segment of a rehearsal that took place at Challenger Eastern Surfboards, Highlands, NJ on March 14, 1972. Engineered and produced by Carl “Tinker” West. The session lineup was Springsteen, Van Zandt, Sancious, Tallent and Lopez. For more information, see the March 14, 1972 entry on Brucebase. Note: Sound quality of the songs from the UBER26 source is uniformly outstanding. However, two of these six recordings have appeared on mainstream bootlegs, although the Bound For Glory (BFG) audio appears to be from a downstream source and is of much-reduced sound quality. A slightly edited version "The Ballad Of Jesse James" from this session was officially released in September 2016 on //Chapter And Verse//, the companion album to Springsteen's autobiography //Born To Run//. The running times noted above do not include over seven minutes of extensive (and fascinating) between-take studio chatter heard on the UBER26 source. Both “It's All Over Now, Baby Blue” and “I've Got To Have You Baby” are covers of other artists' compositions. Written in mid-late 1971. A performance from early 1972 at The Backdoor Club is circulating. One of several songs Bruce wrote during the period that incorporated the word “Dance” in the title. Written in 1971 and played live often during late 1971 and early 1972. Multiple live performances are in circulation. Bruce upgraded the lyrics, re-titled it “Secret To The Blues”, and performed it at a few shows during the early part of the Greetings Tour. Written in mid to late 1971 and played live during late 1971 and early 1972. A couple of live performances are circulating. Sometimes listed under the title “You Sure Can Dance”. Probably written in late 1971. Sometimes incorrectly titled “Daddy, Sing Me A Cradle Song”. This is unquestionably one of Bruce’s most commercial-sounding pre-CBS creations. There’s only one documented live performance known, from a show in Richmond in March 1972 – fortunately audio from that gig is circulating. Appel/Cretecos pressed this live performance of “Cherokee Queen” on acetate in 1972. Mike Appel clearly liked this tune because when he settled his litigation in 1977, “Cherokee Queen” was one of a dozen then-unreleased Springsteen songs that Appel retained part ownership of, although he sold it back to Bruce in 1983. Probably written in mid-1971. Three performances are in circulation, two live and a rehearsal. Written early-mid 1971. There are multiple live performances in circulation from Bruce’s mid-1971 “big band” era. Written in 1970 or 1971. Only one recording is in circulation, from October 23, 1971 at the University of Richmond. Probably written mid to late 1971. A long, predominantly solo-piano song about a struggling, once-successful singer. Known from the audio of a single live performance at the University of Richmond on October 23, 1971. Written in mid-1971. Sometimes referred to by the title “Don't You Want To Be An Outlaw” or “Billy”. This ode to Jesse James and Billy The Kid was played live often and there are multiple live performances from the second half of 1971 in circulation. The studio rehearsal take is in far better quality than any of the available live versions and officially released in September 2016 on //Chapter And Verse//, the companion album to Springsteen's autobiography //Born To Run//. This release has been edited, reducing the length to 5:31 by removing some of the verses in the middle of the song. Written in mid to late 1971 and performed into the early months of 1972. A couple of live performances are in circulation. Probably written in early 1971. Also known by the title "Grandpa's Gone Down", this song is about the death of Springsteen's grandfather. Known from documentation, and also audio from a gig at Richmond's Back Door club on February 25, 1972. Song listed as "Down To The Riverside" on a handwritten setlist that dates from the period around October 1971 - February 1972. Probably written around mid-1971 with the Bruce Springsteen Band in mind. The only known live recording is from July 29, 1971 at D'Scene in South Amboy, NJ. Written around mid-1971. It is also known by the title “Funk Says Right On”. This is a tune mentioned on promotional material from The Student Prince emanating from the fall of 1971. However, no live performance audio of the song has yet surfaced. An excellent sound quality, complete Challenger East rehearsal take from early 1972 exists. The song is essentially an instrumental but features the words “Right On” spoken several times – courtesy of the rarely utilized voice of Garry Tallent (who was nicknamed “Funky”) Written in mid-1971. Two known live versions, from July 23, 1971 at Damrosch Park and July 29, 1971 at D'Scene, both with Delores Holmes providing the vocal. A wonderfully catchy, Phil Spector-style tune that Bruce may have penned with a female performer in mind. There is no known performance with Bruce singing lead. Probably written in mid-1971 and also known by the title "Festival". There is only one known live performance, at an outdoor show in Long Branch, NJ on September 1, 1971. Audio of this show exists. Written in mid to late 1971 and performed into early 1972. One of Springsteen’s strongest pre-1972 creations. A couple of live performances are in circulation. Written in mid to late 1971 and performed into the early months of 1972. A slow, overly melodramatic song that would rank as one of Bruce’s weakest creations. A couple of live performances are circulating. Written in early 1971. The correct spelling for this song title may be “Jumbeliah”, as this is how Springsteen notes it on handwritten documents. Performed regularly at shows throughout the year. Several live versions are circulating. “Jambalaya (Roll Over)” and “When You Dance” were Bruce’s two most often utilized show closers in 1971, much in the same way that “Thundercrack” and “Rosalita” were during later tours. Written in early 1971. There is only one known performance, from a Dr. Zoom gig on May 15, 1971. Fortunately the audio is in circulation. Probably created in mid-1971. There are two circulating audio performances, from an outdoor Bruce Springsteen Band gig at the 2nd Annual Nothings Festival and at D'Scene, both in July 1971. This Van Morrison-styled pop piece should not be confused with a blues song called “Last Night In Texas” that Bruce was also performing during the same period. Probably created in early 1971. Bruce has borrowed the melody to Sonny Boy Williamson’s blues standard “One Way Out” and added his own lyrics. There are a couple of live recordings from mid – late 1971 in circulation. Not to be confused with another Springsteen composition from the period with a similar title – “Last Night In Tulsa”. Written in mid to late 1971. One of Bruce’s strongest songs of the pre-CBS era. A couple of live performances are circulating from late 1971 and early 1972. Written in mid-1971. Only one live performance is in circulation, from a Richmond show in October 1971. Written in early 1971 and performed from mid-1971 until early 1972. A couple of live performances are in circulation. Slow moving and tedious at times. The studio version was recorded at Challenger East in early 1972. The audio quality on the BFG boot is much reduced from the UBER26 source. Written in mid to late 1971 and performed into early 1972. A couple of live performances are in circulation. Written in mid to late 1971 and performed into early 1972. Several live performances are in circulation. Also known by the title “Magic Loving”. Written in mid to late 1971 and performed into early 1972. Also known by the title “Make Your Mind Up”. This is one of Bruce’s most powerful pre-CBS era creations. A live performance from Richmond’s Backdoor Club circulates. Probably written in the summer or autumn of 1971. One of the Springsteen songs advertised on promotional material from The Student Prince and almost certainly performed at that venue during the many shows there during the second half of 1971. However no audio performance of the song has yet surfaced. This song is not related to Springsteen’s 1972 composition “Marie”. Written in mid-1971. A couple of live performances are circulating from late 1971 and early 1972. Written in early 1971. Also known by the title “My Baby’s Natural Magic”. Excellent song that is reminiscent of Van Morrison’s early 70’s “Tupelo Honey” – “Moondance” material. A couple of live versions are in circulation. Written in early 1971. A couple of live performances are in circulation from the mid-1971 Bruce Springsteen Band era. Also known by the titles “Nothing Can Stop Me” or "Nothing Can Stop Me Now". Written in mid-1971. One of the Springsteen songs advertised on promotional material from The Student Prince and almost certainly performed at that venue during the many shows held there in the second half of 1971. There is no audio circulating. Written in early 1971. The only circulating live performance is from a Dr. Zoom show in May, 1971, although it was definitely performed at other shows. The song has been incorrectly titled “Pretty Little Woman” on various bootlegs and is usually referred to among collectors be this incorrect title. Written in mid-1971. A couple of live performances are circulating from late 1971 and early 1972. Definitely among Bruce’s top songs of the pre-1972 era. Written in mid-1971. A couple of live performances are circulating from late 1971 and early 1972. Written in mid-1971. Only one live performance is in circulation, from a Richmond show in October 1971. Bruce utilized the melody for his 1972 song ‘Janey Needs A Shooter”. Written in 1971 and performed regularly until early 1972. Along with “Jambalaya” this was Bruce’s most frequently utilized “show-closer” during the period. Several live performances are in circulation. However, the most outstanding version (by far) is the studio rehearsal version recorded at Challenger East Surfboards in early 1972. Written in 1971. There is only one known live performance, at a Sundance Blues Band show in early 1972, with Springsteen on guitar but Southside Johnny providing the lead vocal. A Springsteen vocal performance has yet to materialize. This is a great song that would not have been out of place had it been performed on the Darkness Tour. Also known by the title “Tell Me Mama, Why’s It So Hard”. Probably written in mid-1971. There is only one known live performance, at an outdoor show on September 1, 1971. An audience recording of this show exists. Also known by the title “You’d Better Be Nice To Me”. Written in mid-1971. Two known live performances, both from July 1971, at Damrosch Park and D'Scene with Delores Holmes providing the vocal. There is no known Springsteen lead vocal performance. Very commercial sounding with a catchy horn riff. Written in early 1971 and performed throughout that year, although all the circulating live versions from 1971 stem from the middle months. Another song that would be ranked in the top tier of Springsteen’s pre-CBS portfolio. Bruce obviously felt this was one of his best early creations, as he performed it live numerous times during 1973 and early 1974. This is actually the old song “Alexander’s Ragtime Band” with some alternative lyrics conjured up by Bruce for The Zoomettes to sing at the Dr. Zoom gigs. Also known as "The Zoom Song".
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